| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "MICHELANGELO POPE JULIUS II": |
|
|
Michelangelo and Pope Julius II, 2004.
This paper discusses the relationship of Michelangelo and Pope Julius II to demonstrate the nature of Catholic art during the Renaissance period.
1,180 words (approx. 4.7 pages), 2 sources, MLA, $ 40.95
»
Click here to show/hide summary
Abstract
This paper explains that religious art during this period was an intensely social production and vision, a dialogue between religious leaders such as Pope Julius II and artistic producers such as Michelangelo. Popes commissioned artistic works and inspired, guided, and checked the artist?s individual vision. The author points out that Pope Julius II, who was as careful in planning as he was in his military achievements, enriched the landscape of Rome by adding many fine buildings to the city, including the Vatican Museum and art collection and the Sistine Chapel. The paper relates that the role of the artist was expanded rather than limited by the patronage and commissions of the papacy, and rather than embodying narrow religious ideals, Michelangelo and others were prodded to create works with expansive, complex renderings of Biblical figures as both human and divine in nature.
From the Paper
"Pope Julius II, often known as a kind of warrior pope because of his influence in political as well as spiritual affairs, even more renown to the ages for his tireless patronage of the arts. He is also called the savior of the papacy, because of his integrity, relative to his contemporaries, and his restoration of legitimacy to the church because of limiting some of its excesses?excesses, albeit not enough to stifle the Reformation later on. Also, it is unlikely that Julius would have, had he lived after the reformation, been able to commission such anthropomorphic and expansive works of religious art, some of which were designed to commemorate his own personal memories and accomplishments, such as the commissioning of the tomb that first drew Michelangelo to Rome."
| |
|
Michelangelo & the Pope's Ceiling, 2007.
This paper provides a review of the work 'Michelangelo & the Pope's Ceiling' by Ross King.
2,452 words (approx. 9.8 pages), 1 source, MLA, $ 74.95
»
Click here to show/hide summary
Abstract
In this article, the writer discusses Ross King's 2003 non-fiction account of the painting of the ceiling of the Sistine Chapel, 'Michelangelo and the Pope's Ceiling'. The writer notes that the work reflects on all the components involved - the ceiling, Michelangelo's frescoes - as well as his involvement. More importantly however, the writer maintains that this title is a reflection on Michelangelo's detachment from the job which has become one of his crowning achievements and that it was in fact the ceiling of the Pope who commissioned the job, and not of Michelangelo. The writer points out that King goes to great lengths to make these points clear and he does so with great accomplishment that the reader is left to believe that Michelangelo, one of the greatest artists in world history, did in fact struggle with this job and he was just biding his time until he could again sculpt. The writer concludes that King makes his point convincingly, with utmost care and ample factual evidence, while creating a historical account which reads almost like a novel.
From the Paper
"One such example of suspense in a historical work has to be the story of a young master in Rome who shares the city with Pope Julius II and the Sistine Chapel. Not Michelangelo, this is Rafael who is praised as a prodigy by those of his time and whose story is told by King intermittently throughout. Upon reading, it is almost as if one is kept waiting for some kind of collision between the two artists, Rafael and Michelangelo. Although nothing comes of it, the ambiguous tone in which Rafael is discussed, leaves a great deal to be anticipated by the reader. Also, Rafael's depiction is brought up through the work and without any sort of pattern or predictability. Just one example of King's ability to keep his work interesting, Rafael is an interesting subject that adds more to the story."
| |
|
Michelangelo Sistine Chapel, 1994.
Historical context of chapel frescoes, spiritual & cultural significance, style, theory and relationship with Pope Julius II.
2,025 words (approx. 8.1 pages), 7 sources, $ 71.95
»
Click here to show/hide summary
From the Paper
" The purpose of this research is to examine the artistic decoration of the Sistine Chapel by Michelangelo. The plan of the research will be to set forth the historical context in which the decoration of the chapel was undertaken, and then to discuss the work with reference to Michelangelo's sculpture and decor of other churches in the preceding periods, as well as to the significance of Michelangelo's complex relationship with Pope Julius II for the project.
The historical context for Michelangelo's decoration of the Sistine Chapel is the tension in the fifteenth century between the Church as the dominant institution in Europe and the increasing secularism of culture. In this regard, Gutek believes that the cultural traditions of the classical period never quite disappeared from the time of the fall of Rome and the emergence.."
| |
|
The Life and Works of Michelangelo, 2002.
The life and work of the Renaissance artist, Michelangelo Buonarroti, and the technique and significance of his works.
1,868 words (approx. 7.5 pages), 7 sources, MLA, $ 59.95
»
Click here to show/hide summary
Abstract
This paper is primarily a biographical report of Michelangelo's almost 90-year-long life from his grim childhood to the early influence of the Medici family to his commission to sculpt the "David" and paint the Sistine Chapel. Also included are photos of his sculptures "Bacchus", "Pieta", "David", "Rondanini Pieta" and his paintings on The Sistine Chapel.
I.Introduction
II.Body
A.Michelangelo?s Early Life
B.Bacchus and Pieta
C.David
D.The Sistine Chapel Ceiling
E.The Tomb of Julius II
F.The Medici Tombs
G.The Last Judgment
H.Michelangelo?s Final Years
III.Conclusion
From the Paper
"One of the greatest artists of all time, a man whose name has become synonymous with the word "masterpiece", is Michelangelo Buonarroti. As an artist he was nearly unmatched; the creator of works of true beauty that express the full extent of the human condition. Yet, in a world where art flourished only with patronage, Michelangelo was caught between the conflicting powers and whims of the Medici family in Florence, and the Papacy in Rome. Unlike many artists of his time, his genius was recognized, but at a seemingly great cost to his personal life."
| |
|
Michelangelo, 2002.
An overview of the qualities in artist, Michelangelo which made his work so famous.
1,400 words (approx. 5.6 pages), 10 sources, $ 53.95
»
Click here to show/hide summary
Abstract
Dante's poetry and Michelangelo's art were defended in very similar terms. At least one of Dante's defenders compared him explicitly to Michelangelo. For Michelangelo, the body's beauty is the way into the soul. Nature and antiquity were touchstones for Michelangelo. Michelangelo's last sculpture, his Pieta, has long stood out as his most emotional and ethereal work. Michelangelo's roughly chiseled last sculpture shows a strong gravitational pull. Furthermore Michelangelo intended the work to be erected on his own tomb. Secrets, dissections, crime, commission, and absolute passion for his work all mark Michelangelo's work.
| |
|
Pope John Paul II, 2005.
This paper reviews and examines the life of Pope John Paul II, as portrayed in Tad Szulc's "Pope John Paul II, The Biography."
2,045 words (approx. 8.2 pages), 4 sources, APA, $ 64.95
»
Click here to show/hide summary
Abstract
This paper explores the life and many achievements of the head of the Catholic church, Pope John Paul II. Author Tad Szulc argues in his book "Pope John Paul II, The Biography" that despite a seemingly difficult life and an even more unlikely rise to power, Pope John Paul II played a large role in the collapse of European communism. This paper also details many interesting revelations and historical facts of Pope John Paul II's life.
From the Paper
"Pope John Paul II has never deviated form the rigid principle he set forth with the start of his papacy. He will not stand for any public dissent within the church on matters of Catholic morality, ethics, faith and interpretation. He subsequently banned all controversial theological debates, citing the old Roman adage, causa finita est, meaning, when Rome speaks the matter is closed. Although his appointment seemed a harsh reality, John Paul none the less took up an almost opposite stance when it came to the poor and oppressed, becoming a powerful advocate for third world nations."
| |
|
Michelangelo's David, 2002.
This paper is an in-depth look at the life of the artist, Michelangelo Buonarroti.
1,655 words (approx. 6.6 pages), 8 sources, $ 53.95
»
Click here to show/hide summary
Abstract
This paper examines the life and times of Michelangelo and the influence his works had on the Renaissance. Particular attention is given to the sculptor "David" that was completed in 1501 and became a symbol of the Italian city of Florence. The other artists of the period are also examined and their works are compared to Michelangelo's in order to give us a thorough understanding of the Renaissance period.
From the paper:
"Michelangelo embodied many characteristic qualities of the Renaissance. He was an individualistic and a highly competitive genius. Michelangelo was not afraid to show humanity in its natural state - nakedness; even in front of the Pope and the other religious leaders. Michelangelo portrayed life as it is, even with its troubles. He wanted to express his own artistic ideas. When Michelangelo created his sculpture of David he took in consideration the qualities of the Renaissance as well as his own qualities, which had been shaped by his background."
| |
|
Pope Martin V and The Roman Renaissance, 2001.
Examination of the life of Pope Martin V after his coronation as Pope in what began the Roman Renaissance.
7,168 words (approx. 28.7 pages), 9 sources, MLA, $ 160.95
»
Click here to show/hide summary
Abstract
This research paper focuses on the life of Pope Martin V after his coronation as Pope in 1417, thus beginning the era of the Roman Renaissance. The paper examines how he laid the foundations for the Renaissance, the radical changes that took place in culture and society during the Renaissance and how Pope Martin V continued to influence these changes even after his death.
From the Paper
"The Renaissance was an exciting, albeit confusing for some, time in European history. It produced many great masters of artistry and influenced later reformations of the church and of government. It is proof that radical changes in culture and society are long-standing and affect many generations to come. Pope Martin V could not possibly have known that his election would go down in history as the end of the Great Schism and the beginning of what history would call the ?Renaissance.? Those who are living during a time period cannot fathom that someday, that era will be famous for its culture, art, ideals, and diversions. Had Pope Martin V lived to see the Renaissance, he might have been a bit alarmed at the radical change from a focus on the religious to a focus on the secular. Being an open-minded man, however, Martin most likely would have appreciated the great artistry of the Renaissance. Even if he didn?t embrace it with open arms, Martin would have come to an understanding with those who did."
| |
|
"Julius Caesar", 2002.
A paper which discusses the murder of Julius Caesar in Shakespeare's play "Julius Caesar".
1,095 words (approx. 4.4 pages), 1 source, $ 38.95
»
Click here to show/hide summary
Abstract
This essay studies William Shakespeare's play, "Julius Caesar". It approaches the antagonism of both Caesar and the conspirators and the motivations of the conspirators. The themes of political achievement and popular responsibility are also discussed.
From the Paper
"Caesar was popular on the streets. His popularity was his source of power. Manipulation is a vice of politicians; on the converse side, influence is a political virtue. These are characteristics of Caesar. Because of his popularity, he can do anything he wants, as the Plebes rule Rome indirectly. This sets the stage for the political statement of the play. As there is an order set, this pure democracy of Rome is one of a kind. The people cast no votes as a whole, but only the elite. However, the approval of the Plebes is the primary concern of all politicians in Rome. This power of the people, however, is flexible in an uneducated society, as is most of Rome. Those who ran the politicians could easily be persuaded by those they ran (i.e. the politicians), who offered supremacy to Caesar."
| |
|
Pope John Paul II, 2006.
A review of the life and influence of Pope John Paul II.
950 words (approx. 3.8 pages), 3 sources, MLA, $ 33.95
»
Click here to show/hide summary
Abstract
This paper studies the life and legacy of Pope John Paul II, the first Polish pope and the first non-Italian leader of the Catholic Church in hundreds of years. The paper studies how Pope John Paul II changed history and reshaped the Catholic Church and doctrine. The paper references the Pope's actions, speeches and religious rulings to underscore the author's assertion that he embodied the three Catholic virtues of courage, dignity and faith. The paper cites examples not only from the Pope's life during his papacy, but during his childhood in Poland as well. The paper also discusses the Pope's outspoken stance on several political conflicts, including the war in Iraq and the Cuban embargo.
From the Paper
"With great courage, in 1979, a year after being elected, this new Polish Pope returned to visit his homeland. Millions of his countrymen flocked to see him wherever he went. He was to become the most traveled Pope, traveling to war zones and places of illness and death. He undertook grueling journeys despite his poor health from Parkinson's disease in his later years. (Walker, 2005) Pope John Paul II's courage inspired his fellow Poles during his first journey there as pope, and in the many subsequent journeys he was to take, back to his native land. Despite the great risk to their own safety, despite the fact that "crowds were only supposed to turn out at state-sponsored rallies, in support of the system and never spontaneously," Poles flocked to hear hum."
| |
|
Michelangelo's Magnifici Tomb in the Medici Chapel, 2008.
A discussion of Michelangelo's Magnifici Tomb in the Medici Chapel, based on a study by Andrew Morrogh and a study by Estelle Lingo.
1,917 words (approx. 7.7 pages), 2 sources, MLA, $ 61.95
»
Click here to show/hide summary
Abstract
This paper discusses two studies of Michelangelo's Magnifici Tomb in the Medici Chapel towards complementary, as opposed to different, conclusions. The studies reviewed are Andrew Morrogh's "The Magnifici Tomb - a Key Project in Michelangelo's Architectural
Career" and Estelle Lingo's "The Evolution of Michelangelo's Magnifici Tomb - Program versus Process in the Iconography of the Medici Chapel".
The paper relates that both studies are authoritative and careful contributions to the study of the Medici Chapel, the tomb in question and the career of Michelangelo. The paper also asserts that their different vantage points on the Magnifici Tomb help along what should be a broad approach to any artifact or installation, investigating origins, features and salient details in relation to context, remembering that there shall forever be different opinions which can be powerful guides towards personal appreciation and further study.
Outline:
Introduction
Andrew Morrogh - The Magnifici Tomb as a Key Project.
Estelle Lingo - Program versus Process and Iconography
Discussion
From the Paper
"The errors made by Michelangelo included the level at which the viewer examined them, the focal point of three statues too low, a statue of the Madonna, on the other hand, requiring a higher viewing point. (p.594) As Morrogh concluded, imperfections and all, Michelangelo had been able to exercise considerable license in what he designed so tentatively and in its results, thanks to the nature of his patron. Michelangelo had mixed opinions concerning the tradition of classicism that would have satisfied many sculptors of his day, but his results were not just innovative but 'difficult' as Morrogh comments, still apt to draw mixed reviews from those examining the Magnifici Tomb in the present. From this article, the reader obtains much detail and most readers will enjoy the illustrations of very different drawings to which Morrogh refers, a familiar aspect of the Medici Chapel revealed to have been a much changing or even piecemeal affairs thanks to the patronage of Pope Clement who seems to have recognized Michelangelo's originality and given it free reign. One leaves this article with the impression of having enjoyed a 'solid' few pages of scholarship, the author plainly knowing far more on Italian Renaissance design and architecture of which this article indicates one quite small topic."
| |
|
Moby Dick and Julius Caesar, 2008.
A discussion on the main players in "Moby Dick" by Herman Mellville and "Julius Caesar" by William Shakespeare.
874 words (approx. 3.5 pages), 2 sources, MLA, $ 31.95
»
Click here to show/hide summary
Abstract
This paper compares the similarities of two literary characters. More specifically, the paper compares and contrasts the character of Ahab from Herman Mellville's "Moby Dick" with the character of Julius Caesar from Shakespeare's famous story of the same name. The paper concludes that like "Moby Dick", "Julius Caesar" is a historical incident which Shakespeare puts meaning into in retrospect, imbuing the characters with traits which we admire or hate and placing around them others who seemingly act only in accordance with fate.
Outline:
Ways in which Ahab and Julius are similar
Ways in which Ahab and Julius Caesar are different
From the Paper
"Caesar is hard to like. Ahab is also hard to like, but he appears more sympathetic as he is so dogged in his quest of the white whale. Ahab is shown to be a brooding and dark character that we sometimes see in literature, ambiguously evil, yet we sympathize with his madness. He sacrifices everything, including his life and his crew to capture Moby Dick, whom he has sought for so long: "Now it was that there lurked a something in the old man's eyes, which it was hardly sufferable for feeble souls to see. As the unsetting polar star, which through the livelong, arctic, six months' night sustains its piercing, steady, central gaze; so Ahab's purpose now fixedly gleamed down upon the constant midnight of the gloomy crew." (Melville, Chapter 130).
"The book Moby Dick is about a quest and a challenge to the universe in which Ahab lives. He will fight it to the death because he believes he can conquer it. He does not know that no matter how big he may be, it is bigger than he, but he will die in the attempt. "He piled upon the whale's white hump the sum of all the general rage and hate felt by his whole race from Adam down; and then, as if his chest had been a mortar, he burst his hot heart's shell upon it." (Melville, Chapter 135). Like Moby Dick, Julius Caesar is a historical incident which Shakespeare puts meaning into in retrospect, imbuing the characters with traits which we admire or hate and placing around them others who seemingly act only in accordance with fate."
| |
|
Pope and Gray, 2005.
This paper analyzes the themes of change and death in the poetry of Alexander Pope and Thomas Gray.
2,925 words (approx. 11.7 pages), 5 sources, $ 115.95
»
Click here to show/hide summary
Abstract
The paper considers the theme of change as is present within the poetical works of Thomas Gray and Alexander Pope. The paper describes how Pope conveys a nationalistic message of the ability of man to reconstruct history and mythology in the landscape of Windsor Forest. The paper explains, however, that Gray presents the limitations of this change and the static nature of history that does not define the suffering of the masses to make historical and political change possible.
From the Paper
"This literary study will analyze the ever-changing view of industrialization that occurred in England, forging a new environmental view of the landscape of England in the poetry of Thomas Gray and Alexander Pope. Through Pope's poem "Windsor-Forest" one can analyze the powerful theme of change in Windsor Forest, as mankind uses the powerful new tools of technology and science to change the natural beauty of this region. In contrast to this view, Gray in "Elegy Written in a Country Churchyard" portrays the landscape of death, which conveys an opposing sense of progress in the static perspective of life."
| |
|
Pope Pius XII, 2006.
Examines the role of Pope Pius XII in regards to the Jewish Holocaust of World War II.
2,250 words (approx. 9.0 pages), 10 sources, $ 89.95
»
Click here to show/hide summary
Abstract
This paper analyzes the Holocaust history before during and after the Second World as well as the policies of Pope Pius. Although Pope Pius XII was able to give clandestine help to a small margin of Jews that were being attacked and killed by Nazis, there was no determined effort that offered humanitarian public support for what Hitler was doing during the Holocaust.
From the Paper
"By researching the various speeches and other formal Roman Catholic policy in relation to Pope Pius, one can realize the often negative non-compliance in preventing the mass murder of Hitler's regime. By observing the 'neutral' stance of the pope while these atrocities occurred, the basis for supporting Hitler's actions against the Jewish population seems well founded."
| |
|
Michelangelo's "Pieta" and Bernini's "Saint Teresa", 2006.
An exploration of the similarities and differences in Michelangelo's "Pieta" and Bernini's "Ecstasy of Saint Teresa."
1,107 words (approx. 4.4 pages), 5 sources, MLA, $ 38.95
»
Click here to show/hide summary
Abstract
This paper compares one of the greatest works of renaissance art, Michelangelo's "Pieta," with a superb example of the complexity of baroque art, Bernini's "Saint Teresa in Ecstasy." The writer explains the Neo-Platonist and humanist influences on Michelangelo and his "Pieta," and describes the sculpture in its moving simplicity in detail. The writer then explains how Bernini's statue combines the baroque emotion with counter-reformation mysticism. The paper concludes that both Michelangelo and Bernini were masters of their craft, bringing life to cold marble and bronze, with different styles of expressing their veneration for God.
From the Paper
"However, apart from earlier religious works, Michelangelo's sculpture had an unmistakable air of humanism. A recurring theme in renaissance art, humanism was fueled by a renewed interest in the individual, under the idea that humanity is a miracle, and you glorified god by portraying his creations in a beautiful manner. This led to much more realistic depictions of the world, the figures of medieval art becoming more three-dimensional, and less homogeneous. The Pieta is an excellent example of this new way of viewing the world, as it was wholly life-sized, and made to be viewed in the round, all sides available to be seen."
|
|
|
